Solar #18 2019
6 Camera-less cyanotypes on paper (Ed.1)
130x150cm
I guess we photograph in an attempt to understand the impermanence of life, the transience of all things that cease to be, despite our desire to retain them, to keep them. But not even the photographic image is permanent or eternal. Without light there would be no photography. Without light there would be no day. Technology gives us the eternal day. There shall be no nights. Just the eternal light. And the illusion of infinite time. In this series the sun is no longer reflected light but an alchemical brush. To produce camera-less cyanotypes I use natural sunlight, salts, sea water and sand. I get out of the lab, away from my computer and cell phone. I work outside on an urban beach, and experience the contradictions of natural and built environments. Nothing can be controlled: water temperature and pureness, pollution, light consistency, chemical reactions. Images result from this series of unpredictabilities.
Solares Series 2019
19 Camera-less cyanotypes on paper (Ed.1)
28x38cm each
I guess we photograph in an attempt to understand the impermanence of life, the transience of all things that cease to be, despite our desire to retain them, to keep them. But not even the photographic image is permanent or eternal. Without light there would be no photography. Without light there would be no day. Technology gives us the eternal day. There shall be no nights. Just the eternal light. And the illusion of infinite time. In this series the sun is no longer reflected light but an alchemical brush. To produce camera-less cyanotypes I use natural sunlight, salts, sea water and sand. I get out of the lab, away from my computer and cell phone. I work outside on an urban beach, and experience the contradictions of natural and built environments. Nothing can be controlled: water temperature and pureness, pollution, light consistency, chemical reactions. Images result from this series of unpredictabilities.
Insomnia (triptych) 2020
C-Type photographic prints on cotton paper (2020)
61 x 91 cm / 24 x 36 in
INSOMNIA Series emerged during the pandemic. Photographed during nights that became increasingly long in home confinement. Public lighting penetrates through the window, occasionally illuminating the surfaces inside the apartment.
As the eye gets used to the darkness it is possible to register variations in tone and intensity that previously went unnoticed in its slowness.
In a movement contrary to that of the day when we look outside; at night fragments of the outer world are recorded inside the domestic space. The light composes poetic abstractions dandled by a lethargic state that accompanies the darkest hours.
The eternal vigil of those who do not sleep lulls the shadows and defies conscience in a long silence. It is hard to tell if ones eyes are opened or closed.
Freely inspired by the works Sleep (by Haruki Murakami) and The Machine Stops (by E.M. Forster)
Note: The text above was written by the Artist. No modification was made by COCA.
Patricia Borges
Brazil
Brazilian visual artist Patricia Borges works mainly with photography but often adopts a multidisciplinary approach by presenting images together with texts and as three-dimensional objects. Her work include digital and material experiments, video, installation and book projects. Patricia Borges’ pieces address man’s relationship with nature and the built environment, often contemplating ephemerality and a feminine narrative.
Her recent exhibitions include Le Salon des Artistes Français 2018 at the Grand Palais in Paris, Tokyo International Art Fair 2018 in Japan, The Room Gallery in Venice (2018), Luxembourg Art Fair 2019, Circuito de Arte Contemporanea de Curitiba 2019 in Brazil, Photo Israel 2019, PH21 Gallery in Budapest (2019), Galerie Etienne de Causans in Paris (2019), Society of Scottish Artists Visual Arts Scotland collaboration with CutLog Moving Image 2020 at the Royal Scottish Academy in Edinburgh.